Love and admire kristen Stewart 4 ever!!!

Beach life

Dear Maya

It’s already February. January went by quickly but how nice we were able to take a short holiday to the beach.  

It’s nice to get away from the chilly weather!   It was so lovely.  Cold beaches are the worst!

No one wants to be around that.   I prefer the sun and the sand and a mojito or two…..

Our beautiful girl has been busy doing all kinds of projects so we haven’t seen much of her but we saw just enough of her handsome man to know that he enjoys sunny beaches too……………..oooh la la. 

K: blowing up Twitter.  again.  Nice.

R: you saw?   

K:  Fuck yeah. Very sexy dude. Are you auditioning for  Bay Watch?

R: I like to watch my bae. Does that count?

K:  your twitter buddies noticed your ripped body

R: only ripping I want to do are your clothes off your body

K: I’m up for that

R:   I wasn’t even smiling. Maybe once.

K:  I noticed.  Your resting beach face.  They love to talk about my resting BEACH face. WHATEVER

R:  I have seen enough bitches on the beach

K:  that you have…………………………………but dude!  weather was good

R: no one likes a shady beach

K:  WORD

R:  I’m surprised they didn’t photoshop a bunch of “mystery women” on the beach

K:  aren’t you done with photoshopped beach pictures?

R:  and photoshopped bitch pictures too.  Aren’t we both? 

K: You always know what to say

R: You always know what to listen to and what to ignore.   I love you for that.

K: Just for that?

R:  no, I love you for other things too……….shall I list them?

K: why don’t you wait and show me

R: I do every day.  

K: that you do.  I love you for that

R:  just that?

K:  Ok. I love you for your ripped body

R:  Do you know what my ripped body can do?

K:  SO.MUCH.

R:  I love you

K: I love you more

So sweet Maya

Several new movies to look forward to, perhaps a film festival. Photoshoots, and always a surprise thrown in.  That’s what makes it fun. We never know what to expect.  That’s just the way they want it.  It’s going to be OK. 

“More than 200 critics and journalists from around the world participated in the eleventh edition of the poll, making it the largest international critics survey of its kind. Participants included leading critics from IndieWire, Time magazine, Variety, and Entertainment Weekly, in addition to film-specific publications such as Cineaste, Cinema Scope and RogerEbert.com. They voted in a dozen categories, encompassing multiple winning films and performances released over the last 12 months, in addition to the best undistributed films and the best films opening next year. Each category included multiple fields, and the results were culled from weighted lists. The best film list asked critics to submit the 10 best films of the year, with the film listed in the number one slot receiving the most weight.”

*Extracted movies of Robert Pattinson & Kristen Stewart that made the list of the Best Films 2017

Best Picture

Note: Critics submitted weighted top 10 lists, with the film ranked in first place receiving the highest number of points.

“Get Out”

“Get Out” (713 points)

“Lady Bird” (673 points)

“Dunkirk” (549 points)

“Phantom Thread” (368 points)

“The Florida Project” (348 points)

“The Shape of Water” (324 points)

“Call Me By Your Name” (312 points)

“Personal Shopper” (296 points)

“Three Billboards Outside Ebbing, Missouri” (245 points)

“The Post” (140 points)

Personal Shopper at #8 of Best Picture

Best Actress

Note: Critics submitted weighted lists Percentage refers to the number of critics who ranked the performance in first place.

Saoirse Ronan, “Lady Bird” (20%)

Frances McDormand, “Three Billboards Outside Ebbing, Missouri” (17%)

Cynthia Nixon, “A Quiet Passion” (11.76%)

Sally Hawkins, “The Shape of Water” (12.4%)

Kristen Stewart, “Personal Shopper” (9%)

Kristen Stewart at #5 of Best Actress

Best Actor

Note: Critics submitted weighted lists. Percentage refers to the number of critics who ranked the performance in first place.

Timothée Chalamet in “Call Me by Your Name”

Photo by Sayombhu Mukdeeprom, Courtesy of Sony Pictures Classics

Timothée Chalamet, “Call Me By Your Name” (26.43%)

Daniel Day Lewis, “Phantom Thread” (15%)

Robert Pattinson, “Good Time” (12.86%)

James Franco, “The Disaster Artist” (11.4%)

Daniel Kaluuya, “Get Out” (10.71%)

Gary Oldman, “Darkest Hour” (10.71%)

Robert Pattinson at #5 of Best Actor

Metrograph‏Verified account @MetrographNYC

10. Daniel Kaluuya – Get Out

9. Ryan Gosling – La La Land

8. Samantha Robinson – The Love Witch

7. Florence Pugh – Lady Macbeth

6. Rooney Mara – Una

5. Garance Marillier – Raw

4. Robert Pattinson – Good Time

PATTINSON delivers the tunnel-visioned intensity needed for the Safdie Brothers’ surging one-night thrill-ride. Playing a character with little backstory, Pattinson helps keep us in the moment, guessing his next desperate move and the extreme measures he will take to get his brother back. A captivating performance in a whirlwind of a film.

3. Casey Affleck – Manchester By The Sea

2. Emma Stone – La La Land

1. Kristen Stewart – Personal Shopper

“STEWART’S second collaboration with director Olivier Assayas somehow surpassed the first to give us, in my opinion, the standout performance of 2017.

Stewart, playing a lonely personal shopper in Paris, fills almost every frame with her electric presence, holding the focus and intrigue of Assayas’ camera through long, solo scenes. It is a performance of deft nuance and masterful skill, as Stewart makes walking through an empty house – and texting on a train – riveting and must-see cinema.

As I stated in my review of the film, this is a ‘solo masterclass’ from Stewart. Acting at its pinnacle from a performer who has a unique magnetism. A performance I will always remember and return to for many years.

My best of 2017. Bravo.”

 #7. The Lost City of Z

“I will help you, because you will make sure that nothing will change,” says a plantation owner and rubber baron (Franco Nero) dressed in a fine white suit and fanned by a native slave, to Major Percival “Percy” Fawcett (Charlie Hunnam). The baron assumes that Fawcett’s mapmaking expedition in the Amazon is meant to maintain the constancy of early 20th-century colonialism—of occupations that mitigate conflict through control. But in actuality, like Marion Cotillard’s Ewa Cybulska in James Gray’s earlier The Immigrant, Fawcett exists outside of the strictures of his time—a deliberate anachronism. The man’s break from the era’s accepted social norms, his belief in exploration as more than a means of exploitation, and his dreams of the future as a corrective for the past reflect both his repentance for an “unfortunate” ancestry (his father was a gambler and a drunk) and broadly represent emergent 20th-century modernism. Gray’s opulent formalism channels Fawcett’s delusions of grandeur, making for an intoxicating adventure film. And the director’s typically bracing intelligence—employed here to examine the psychological toll of obsession, and the philosophical weight of understanding, and accepting, change—lends the narrative the scope and detail of a classical epic. Like The Immigrant, The Lost City of Z is about ideologies out of step from the present moment of the world they exist in, and is itself a film out of its own time.” ~ Mac

#6. Personal Shopper

“Kristin Stewart shops, Olivier Assayas buys, and cinephiles everywhere throw away the receipt. Assayas’s latest and potentially greatest indulgence in diva worship seems rigged to pin Stewart like a butterfly in cinematic isolation for as long as the apparatus can get away with it. Stewart stars (and rarely has the word “stars” felt so inadequate) as a spiritual medium moonlighting in Paris as a buyer for a hangry fashionista, and desperately trying to come into contact with her recently departed twin brother. Filmed in a sense like an exorcism of its leading player’s own fame-making turns in pop-horror blockbusters, the stages of grief embodied throughout Personal Shopper are at once redolent of funereal urban ennui and wrapped too tight. By the time Stewart is spending the film’s thrilling and entirely dialogue-free central act nervously trading texts with “Unknown Caller,” Assayas has encroached fully upon her space while depicting her, in every sense, alone. Not since Kyoshi Kurosawa’s Pulse has a ghost story more closely replicated the anxiety of modern communication. And not since Vertigo has the act of dressing up felt so illicit.“~ Henderson

#5. Good Time

“Manny Farber’s conception of a film defined by “unkempt activity” often gets shortened to “termite art,” even though his full, original designation was “termite-tapeworm-fungus-moss art.” The unwieldy term seems precisely the point: Wild and ferocious, such a film wants to worm and rip its way through your viscera with little concern for the damage incurred. In Good Time, directors Josh and Benny Safdie tailor a shredding electronic score by Oneohtrix Point Never to energize the caustic, Christmas-set NYC tale of Connie Nikas (Robert Pattinson), an anti-Santa Claus who leeches his victims, including Nick (Benny Safdie), his mentally challenged brother, of their possessions and trust. Right from the devastating opening, in which Connie snatches Nick from a therapy session as the latter is on the verge of a breakthrough, the Safdies convey Connie’s desperation not through backstory or exposition, but as a compulsory, breathless sprint toward destruction. A handful of African immigrants are caught in the crosshairs of Connie’s mad dash of a day, with their professions and lives routinely jeopardized by his sociopathic behavior. The systemic danger of white-male anger, especially as it’s informed by Connie’s vaguely defined sense of personal injustice and self-righteousness, has rarely been represented in American cinema as an urgent public health hazard, with its noxious effects no different than the choking, billowing haze of an exploded dye pack.” ~ Clayton Dillard

K nominated for best actress by the St. Louis Film Critics Association